Creation, Imagination, Responsibility in: Corrine or Italy, Frankenstein, Records of Woman
In this paper, I will be focusing on women writers in different periods of the romantic era and will explore how the creative force is both feminine and radical in constructing change. We begin by questioning why we read specific types of writing as original and how they influence future generations. Germane de Stael’s, Corrine or Italy is in the center of my discussion as she creates a creative artistic woman who falls in love with her art, the history of her land, and then with a man who cannot identify with her passion or poetry. She becomes an inspiration to him, both spiritual and intellectual and emotional but he never succeeds in becoming a true partner in her life. I will look at the ways that de Stael sets up the causes for our understanding of Oswald’s leaving Corrine and moving to England to marry her younger sister, who unlike Corrine, follows traditional forms of love and marriage.
I will also compare the ways in which art and creativity demand responsibility by de Stael, Mary Shelley’s, Frankenstein, as well as Felicia Hemans’s Records of Woman. The artist is confrontational in different modes of creation. Shelley warns her audience of the artistic abilities of an author as well as the creation itself. Hemans creates historical lives and gives poetic voices to women whose lives would have remained unheard. In doing so, she hopes to create historical documents in order to illuminate human emotions that might be shared on a universal level. Her research and character creations are evident as subjects in the poetry.
We will then examine the ways in which creativity is inherited by these women and how they portray unresolved social positions within their lives that need to be transformed and transcended through art.
Finally, my paper will focus on how art is seen as performative function as it creates a public consciousness developed by these authors in bringing awareness to spaces of torment and places of nation. By redefining the domestic and the public and creating a resistance to old traditional assumptions of nothing happens where women spend time.
Conference Proposal
Creation, Imagination, Responsibility in: Corrine or Italy, Frankenstein, Records of Woman
In this paper, I will be focusing on women writers in different periods of the romantic era and will explore how the creative force is both feminine and radical in constructing change. We begin by questioning why we read specific types of writing as original and how they influence future generations. Germane de Stael’s, Corrine or Italy is in the center of my discussion as she creates a creative artistic woman who falls in love with her art, the history of her land, and then with a man who cannot identify with her passion or poetry. She becomes an inspiration to him, both spiritual and intellectual and emotional but he never succeeds in becoming a true partner in her life. I will look at the ways that de Stael sets up the causes for our understanding of Oswald’s leaving Corrine and moving to England to marry her younger sister, who unlike Corrine, follows traditional forms of love and marriage.
I will also compare the ways in which art and creativity demand responsibility by de Stael, Mary Shelley’s, Frankenstein, as well as Felicia Hemans’s Records of Woman. The artist is confrontational in different modes of creation. Shelley warns her audience of the artistic abilities of an author as well as the creation itself. Hemans creates historical lives and gives poetic voices to women whose lives would have remained unheard. In doing so, she hopes to create historical documents in order to illuminate human emotions that might be shared on a universal level. Her research and character creations are evident as subjects in the poetry.
We will then examine the ways in which creativity is inherited by these women and how they portray unresolved social positions within their lives that need to be transformed and transcended through art.
Finally, my paper will focus on how art is seen as performative function as it creates a public consciousness developed by these authors in bringing awareness to spaces of torment and places of nation. By redefining the domestic and the public and creating a resistance to old traditional assumptions of nothing happens where women spend time.